Polunin has given an interview recently in which he says that he intends to rent a flat in Moscow and to start en educational programme in schools to teach ballet in a ‘positive way’. He compèred a gala this Summer in the Crimea, arranged by Zelensky and attended by Putin, and there is a big project afoot to build a ballet school and performing arts centre there: I am sure all these events, including the tattoo, are entirely unconnected ...😉

Last night: I thought the dancing in S in C was effervescent - it was a really enjoyable performance. Infra made for fascinating viewing (for me, at least) but I found the young cast did not pack the emotional punch that I had experienced when I last saw it danced by the Mariinsky. Also, I was not sure that the all dancers had really mastered the particular choreographic idiom, although I agree that Akada was completely compelling. Last and very much least, for me, was the US: I think that this is a facile work, far too derivative, and not helped by the music (composed by numbers?) or designs (ill-conceived). It is a sign that something is awry , surely, when the spoken extracts are more effective than the dance content.. I think that it was a wasted opportunity, and reflects serious errors of judgment by a number of people involved (not on the stage). I absolve the dancers because they danced with full commitment but I don't think that anyone could salvage this vapid piece.

Corrales made a very strong debut as Solor. I thought he handled the task with aplomb and intelligence: he paced himself well as there is a lot of partnering to get through. He is a fine partener for such a young dancer - no problèm with the supported pirouettes or lifts: he was attentive to both leading ladies. Technically he is of course very strong - spectacular pirouettes in particular. But his virtuosity was at the service of the role rarher than vice versa. My personal reservation is that I am not keen on his line, but there is no doubt that Mr Corrales is a real star in the making. The corps were excellent in the Shades Act.

An excellent debut by Matthew Ball. He navigated the longueurs of the first scenes cautiously but the final pdd in Act 1 was impressive. However, he really started to ratchet up the intensity in Act 2, brilliantly aided by Melissa Hamilton who I thought contributed magnificently to their passionate folie à deux.. by Act 3 it was absolutely gripping and they danced to the death with I think nearly all the auditorium in their dramatic thrall. This was - in my opinion - a really well danced and superbly acted debut by Mr Ball. He should be very proud.

He certainly was pre-injury - was that during the Filin tenure? He was in Russia in July - I think - to dance Giselle with the Mariinsky and made a visit to the Bolshoi while he was there - maybe the invitation was made at that point.

I believe that the last time the Bolshoi performed La Bayadere in London was in August 2013? Since then attitudes towards this issue in the performing arts in many Western countries have surely changed (see for example only "non-traditional casting https://en.wikipedia.org/wiki/Color-blind_casting)?
I simply observe that it was - for me - now in 2018 disconcerting to see the children in blackface. Would an English company use it without some reflection on whether it is appropriate in today's culture, I wonder?

The US site Balletalert has a long thread about this issue, and refers to it as “black!face”
I saw the Bolshoi perform La Bayadere at La Scala just over a week ago, and indeed the child performers appeared in “black face”.
To say that it was disconcerting - at least for me - would be an understatement. But it did not seem to provoke any discomfort in the wider audience - or none that was noticeable. However, I cannot see that the company will be able to replicate this in their London performances - unless they wish to court serious controversy to the detriment of their performances.